{"id":33744,"date":"2023-07-12T08:00:34","date_gmt":"2023-07-12T06:00:34","guid":{"rendered":"https:\/\/guitarrasramirez.com\/jose-ramirez-iii-a-historic-guitar\/"},"modified":"2023-07-12T08:00:34","modified_gmt":"2023-07-12T06:00:34","slug":"jose-ramirez-iii-a-historic-guitar","status":"publish","type":"post","link":"https:\/\/guitarrasramirez.com\/en\/jose-ramirez-iii-a-historic-guitar\/","title":{"rendered":"Jos\u00e9 Ram\u00edrez III, a historic guitar"},"content":{"rendered":"
Article by Pablo de la Cruz.<\/pre>\n
Before talking about the history, I am going to situate historically the Ram\u00edrez House and <\/span>its direct origin from the School of Madrid created in 1761 <\/b>and from which Jos\u00e9 Ram\u00edrez I and his brother Manuel descend, both of them are the protagonists of this story, although life will lead them to separate.<\/span><\/p>\n
The guitar makers of Gonz\u00e1lez y Campo<\/span><\/h2>\n
In <\/span>Dionisio Aguado<\/span><\/a>‘s Nuevo M\u00e9todo of 1843, (Chantarelle 802) on the page dedicated to the title page, one can see a guitar mounted on the tripod with the head in the shape of an “eight” and French style pegs (guitar Ca 1830) where one can read: “engraved and stamped by Lodre”, and at the foot of the page it is noted: “<\/span>it will be on sale in Madrid in the guitar shops of Gonz\u00e1lez y de Campo<\/b>, Calle Angosta de Majaderitos, and in the music store of Lodre, Carrera de San Jer\u00f3nimo today Calle de Zayas, price 90rs”.<\/span><\/p>\n
 Aguado’s mention of the “Guitarrer\u00edas” of Gonz\u00e1lez y Campo in Calle Majaderitos suggests that, according to Gonz\u00e1lez’s date of birth, 1820, he would have been 23 years old in 1843, the date of the edition of the method, and <\/span>would either have shared the guitarrer\u00eda with Campo or would have been an advanced officer of the same<\/b>, as in the Diccionario The Vihuela de Mano and the Spanish Guitar edited by J.L. Romanillos and Marian H. Winspear, there is no mention of any event in this period 1820-1843, in Gonz\u00e1lez’s life, until 1849, such as the payment of rent for a flat, which coincides with Aguado’s death in that same year. <\/span><\/p>\n
If in 1843 the guitar workshops of Gonz\u00e1lez and Campo were mentioned, it is very possible that it was the same one, either shared or as Campo’s worker, it is important to underline this because <\/span>Jos\u00e9 Ram\u00edrez I will enter Gonz\u00e1lez’s service in 1870. <\/b><\/p>\n
Ram\u00edrez I will set up his workshop in 1882 when Francisco Gonz\u00e1lez died, this postulate further supports my theory of the <\/span>direct descent of Gonz\u00e1lez from the old Madrid school <\/b>which came from the association “noble art of violeros, guitarreros and all kinds of stringed instruments” founded in 1761 by Lorenzo Alonso (ca1796), Marcos Antonio Gonz\u00e1lez (1736-1809) and the violero Juli\u00e1n Fornieles.<\/span><\/p>\n
 There was an economic contribution from its members, they examined the future aspirants by drawing various templates and controlling, in turn, the quality of the products they sold to the consumer in their respective shops.<\/span><\/p>\n
Marriages to secure the guild<\/span><\/h2>\n
The daughter of M.A. Gonz\u00e1lez would marry Manuel Mu\u00f1oa (1779-1815) the brother of this Antonio, had his own shop that also sold the Aguado Method of 1820, later the daughter of Manuel Mu\u00f1oa would marry Benito Campo, works or teaches Francisco Gonz\u00e1lez, the pupil of this one would be <\/span>Jos\u00e9 Ram\u00edrez I<\/span><\/a>, this is the mark of the old Madrilenian School to which Juan Moreno (1792-1836) also joins. (1) <\/span><\/p>\n
It was normal for <\/span>the guilds <\/b>to <\/span>ensure their offspring and continuity<\/b>, which is why the daughters of the master of the workshop usually married one of the journeymen, unless the latter decided to set up his own business and risk resources to rent a workshop and flat.<\/span><\/p>\n
The Ram\u00edrez guitar of Andr\u00e9s Segovia<\/span><\/h2>\n
In 1923 <\/span>Andr\u00e9s Segovia made his debut in Berlin with his <\/b>1912 <\/span>Manuel Ram\u00edrez<\/b><\/a>, a guitar very dear to <\/span>Segovia<\/span><\/a>, which he would use in his debut in Paris 1924, USA 1928, USSR 1936 and the recordings of his first records in 1926 and 1927 and the recordings of 1932, Variations and Fugue on the Fol\u00eda de Espa\u00f1a by M.M. Ponce and 1935, his transcription of the Chacona by J.S. Bach.(2) <\/span><\/p>\n
After that concert in Berlin, he met Herman Hauser. Segovia was impressed when he was shown the elements that made up his workshop, Hauser scrupulously took all the measurements of the template of the Manuel Ram\u00edrez and, the following year, Hauser took to Geneva, where Segovia lived, a guitar exactly like his <\/span>Manuel Ram\u00edrez<\/span><\/a>, <\/span>but without the quality or the depth of sound that was required<\/b>, a guitar that Segovia returned to him thanking him for his intention. <\/span><\/p>\n
Hauser brought him two guitars every year to Geneva, until <\/span>1936, <\/b>when <\/span>Segovia accepted a guitar superior <\/b>to his Spanish guitar until then, (3) with that Hauser and later ones from his son Hauser II.<\/span><\/p>\n
 Segovia’s career was plagued by successes and premieres such as the Concerto by Castellnuovo Tedesco in 1939, the Concerto by Villalobos in 1940 and the Fantas\u00eda para un Gentilhombre by Joaqu\u00edn Rodrigo in 1958. (4)<\/span><\/p>\n
Jos\u00e9 Ram\u00edrez and Andr\u00e9s Segovia<\/span><\/h2>\n
Jos\u00e9 Ram\u00edrez III met A. Segovia in 1952 <\/b>at a celebration organised by the guitar milieu on the occasion of his return to Spain, (5) that year, Segovia gave a historic concert in the Alhambra in Granada, although he did not take up residence in Madrid until 1958, with the Madrid premiere of Joaqu\u00edn Rodrigo’s Fantas\u00eda para un Gentilhombre (Fantasia for a Gentleman). <\/span><\/p>\n
It is quite possible that in remembrance of his pleasant memory of his guitar Manuel Ram\u00edrez and to replace his Hauser II, <\/span>Andr\u00e9s Segovia asked Jos\u00e9 Ram\u00edrez III for an instrument with symphonic qualities, harmonically perfect, with a balance of bass and treble and with a great projection<\/b>, that has a deep and soft oscillating singing like a violin and a vibrato in the bass like a cello, and that produces brilliant sounds with a clear sound like the brass wind and cantabile like the woodwind when playing next to the bridge with great contrasts between the strings to highlight the dissonances. (6)<\/span><\/p>\n
 According to what <\/span>Jos\u00e9 Ram\u00edrez III<\/span><\/a> told me on a visit to his home in October 1993 (his daughter Amalia and I had visited him to show him the recording of “M\u00fasica para un Paisaje” for guitar and orchestra by Miguel \u00c1ngel Linares, which I premiered at the Auditorio Nacional on 7 May 1993 with a Ram\u00edrez IV <\/span>“Especial” model<\/span><\/a> that Jos\u00e9 Ram\u00edrez IV had built), which, according to the Physical Harmonic System, has 885.33 simple vibrations, which corresponds to the tuning frequency of 442.66Hz, i.e. 442Hz (7) “the outgoing wave divides by two when it hits and returns”, just as the orchestras of the 21st century tune today. <\/span><\/p>\n
In recordings and in large spaces, the sound offers no resistance and hardly suffers alterations when changing the pitch of the sound by tuning in different tuning forks. Finally, according to Mr. Ram\u00edrez, he <\/span>had worked closely with Andr\u00e9s Segovia for nine years and the latter tried 59 guitars during all this period until 1961, when Segovia premiered his new Ram\u00edrez III with a 664mm tuning fork.<\/b><\/p>\n
 There are some historical concerts and recordings that we remember for the moment and have this Ram\u00edrez III as the protagonist, the concert at the RAI 1961, N. York “Festival Performing Arts” 1962, Teatro Col\u00f3n de Buenos Aires 1962, Suite Compostelana by Mompou in 1964 Sonata Mexicana 1967 (although premiered in 1925 with his Manuel Ram\u00edrez), also from that period is the live recording of Platero y yo by M.C. Tedesco or the Recital in San Francisco Church in Locarno 1968 with the Theme and Variations by Albert Harris. <\/span>The guitar of the future was finally a reality. <\/b><\/p>\n
Pablo de la Cruz <\/b><\/p>\n
Director of the Andr\u00e9s Segovia International Festival<\/b><\/p>\n
\r\nAnnotations<\/span>\r\n\r\n(1) The Vihuela de Mano and the Spanish Guitar by Jos\u00e9 Lu\u00eds Romanillos & Marion H. Winspear<\/span>\r\n(2) The Legacy of Andr\u00e9s Segovia, article by Carlos Andr\u00e9s Segovia<\/span>\r\n(3) Testimony of Andr\u00e9s Segovia interviewed by Jak Pfeiffer for TV in 1955 from Danielle Magli's blog.<\/span>\r\n(4) The Legacy of Andr\u00e9s Segovia, article by Carlos Andr\u00e9s Segovia.<\/span>\r\n(5) Biographical book by Alberto L\u00f3pez Poveda ed University of Jaen.<\/span>\r\n(6) Andr\u00e9s Segovia Documentary by Christopher Nupen<\/span>\r\n(7) Diccionario de la M\u00fasica Higinio Angl\u00e9s Vol I and Sistema F\u00edsico Arm\u00f3nico de Ac\u00fastica f\u00edsico musical by Antonio Calvo Manzano Ru\u00edz.<\/span><\/pre>\n","protected":false},"excerpt":{"rendered":"
Article by Pablo de la Cruz. Before talking about the history, I am going to situate historically the Ram\u00edrez House and its direct origin from the School of Madrid created […]<\/p>\n","protected":false},"author":0,"featured_media":30035,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_joinchat":[],"footnotes":""},"categories":[85],"tags":[],"class_list":["post-33744","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-our-guitars"],"yoast_head":"\nJos\u00e9 Ram\u00edrez III, a historic guitar | Guitarras Ram\u00edrez<\/title>\n<meta name=\"description\" content=\"Discover the guitar that Jos\u00e9 Ram\u00edrez III created for Andr\u00e9s Segovia. 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